Description:
EXCESSIVELY SCARCE INCUNABLE OF TWO CORNERSTONES OF ARABIC MEDICINEAVENZOHAR [Abd al-Malik ibn Abī al-ʻAlāʼ Ibn Zuhr]. Tajsīr fi Ôl-mudāwāt wa Ôt-tadbīr. [Liber Teisir sive Rectificatio Medicationis et Regiminis]. Venice, Bonetus Locatellus for Octavianus Scoto, 31 May 1496.[together with:] AVERROES [Abū l-Walīd Muhammad ibn Ahmad Rushd]. Kullīyat [Colliget]. Venice, Bonetus Locatellus for Octavianus Scoto, 31 May 1496. Folio (314x210 mm), later stiff vellum, ff. 108. Gothic and Roma types, 66 lines.Woodcut head-letters.EXCESSIVELY SCARCE LATIN EDITION OF TWO MAJOR TEXTS OF ARABIC MEDICINE IN THE MIDDLE AGES: IBN ZUHR'S «TEISIR» AND IBN RUSHD'S «KULLIYAT».The editor of these two texts was Hieronymus Suriano, that begins his translation in this way (see image 4): Incipit liber theiçir dahalmodana uahaltadabir cuius est interpretatio rectificatio medicationis et regiminis editus in arabico a perfecto viro Abymeron abynçohar («Here begins the book Theisir Dahal Modana Wahal Tadabir as to say Interpretation and Simplification of Medicine and Diet, written in Arabic language from the perfect man Abymeron Abynzohar»).Abū-Marwān ʻAbd al-Malik ibn Zuhr (Arabic: أبو مروان عبد الملك بن زهر‎; 1094-1162), better known in the West by his Latinized name Avenzoar, was an Arab-Muslim physician, surgeon and a contemporary of Averroes and Maimonides. He was born at Seville (now southwestern Spain) and was regarded as the most renowned physician of Al-Andalus.Ibn Zuhr was known for his emphasis on a more rational, empiric basis of medicine. His major work, the present Al-Taysīr fil-Mudāwāt wal-Tadbīr («Book of Simplification Concerning Therapeutics and Diet»), was translated into Latin and Hebrew and was influential to the progress of surgery. He also improved surgical and medical knowledge by keying out several diseases and their treatments.Ibn Zuhr performed the first experimental tracheotomy on a goat. He is thought to have made the earliest description of bezoar stones as medicinal items. Ibn Zuhr presented an accurate description of the esophageal and stomach cancers, as well as other lesions and is the first one who discovered the Scabies Germs, which added an important knowledge in microbiology.ʾAbū l-Walīd Muḥammad bin ʾAḥmad bin Rušd (Arabic: أبو الوليد محمد بن احمد بن رشد‎), commonly known as Ibn Rushd (Arabic: ابن رشد‎) or by his Latinized name Averroës (1126 - 1198), was an Al-Andalus Muslim polymath, a master of Aristotelian philosophy, Islamic philosophy, Islamic theology, Maliki law andjurisprudence, logic, psychology, politics and Andalusian classical music theory, and the sciences of medicine, astronomy, geography, mathematics, physics and celestial mechanics. Averroes was born in Córdoba, Al Andalus, present-day Spain, and died in Marrakesh, present-day Morocco. He was interred in his family tomb at Córdoba. The 13th-century philosophical movement based on Averroes' work is called Averroism.The present work is a medical encyclopedia called Kulliyat («Generalities», i. e. general medicine), known in its Latin translation as Colliget and was composed as counterpart of Liber Teisir, and intended to supplement Avenzohar with a general theory of medicine. The two works were frequently published together. He also made a compilation of the works of Galen, and wrote a commentary on the Qanun fi 't-tibb («Canon of Medicine») of Ibn Sina (Avicenna). Averroes was a defender of Aristotelian philosophy against Ash'ari theologians led by Al-Ghazali. Although highly regarded as a legal scholar of the Maliki school of Islamic law, Averroes' philosophical ideas were considered controversial in Muslim circles. Averroes had a greater impact on Western European circles and he has been described as the "founding father of secular thought in Western Europe". The detailed commentaries on Aristotle earned Averroes the title "The Commentator" in Europe. Latin translations of Averroes' work led the way to the popularization of Aristotle and were responsible for the development of scholasticism in medieval Europe.Provenance: Contemporary handwritten annotations (not identified).References: No copies of this incunable appeared in auction in the last century. An incomplete copy of the 1497 edition was sold by Swann Galleries (New York) in 1979. IGI 1104; BMC V 446; GW 3104; Goff A1409; HC 2187; GfT 2434, 2436, 2437; Klebs 127.2; Pellechet 1653; CIBN A-803; Lefèvre p. 34; Péligry 121; Richard 73; Castan (Besançon) 140; IDL 592; IBE 653; IBP 701; SI 489; Sajó-Soltész 435; Günt (L) 3396; Voullième (Bonn) 152; Voullième (B) 4193; Kind (Göttingen) 1714; Walsh 2326. ISTC, ia01409000.

Condition Report:
A repair at the lower half blank page, under the title; otherwise a fine and fresh copy with wide margins.

Description:
VERY SCARCE SAMPLE OF RENAISSANCE BINDING WITH GILT, EMBOSSED AND WATER-COLOURED EDGES CONTAINING ARISTOTLE'S POETICS AND RHETORIC ARISTOTLE. Rhet. et mor. Tomus tertius operum. Aristotelis Stagiritae Peripateticorum principis, qui Rhetoricorum libros ad artem dicendi attinentes, atque Poeticam affert. Etiam eos quos Ethicorum vel Nicomachios vocant, cum fidiss. Commen. Aver. paraphrasi. Magna moralia, nec non quos ad Eudemum scripsit. Libellumque de virtutibus. His accedunt ii, qui de repub. vel Politicorum vocantur, & Oeconomici de re familiare tractantes. Ad calcem autem Paraphrasim Averr. super libros de Republ. Platonis [...] Venetiis, MDLX [Venice, (Apud Cominum de Tridino, Montisferrati), 1560]. 8vo (178x121 mm), full calf Renaissance binding with smart gilt decorations to both covers, four raised bands spine with gilt fillets and phytomorphic decorations to compartments, precious embossed, gilt and watercolored edges, ff. [12], 520. Woodcut frieze with putti and the fountain device at title-page, many woodcut initials all along the text and a woodcut vignette above the beginning of the proper text with Judgement of Salomon. Roman and Italic type, text in Latin. Aristotle's Poetics and other works in a smart and very rare Renaissance binding, with gilt, embossed and watercolored edges. The text, the only version circulating until the late Renaissance, was a Latin translation of an Arabic copy done by Abu al-Walid ibn Rushd (Averroes) with his own paraphrase. Third volume (out of eleven) of Aristotle's Opera Omnia printed by Comin de Trino in 1560. It contains the Rhetoric, the Poetics, the Nichomachean Ethics, and the Politics. Aristotle's Poetics is presumably the earliest-surviving treatise on dramatic and literary theory of the Western culture. Aristotle lists and analyses in this work what poetry is and the process through which tragedies, comedies and epic poems should be created. The features and differences of these three genres were described with so much details and logical asset that would influence the literary production for centuries. Among the core concepts at the basis of the essay there are those of mimesis and catharsis. Mimesis should be considered as the perfection and imitation of nature. Art - in this case, literature - is not only imitation, but also the use of mathematical ideas and symmetry in the search for the perfect, the timeless, and contrasting being with becoming. Nature is full of change, decay, and cycles, but art ought to search for what is everlasting and the first causes of natural phenomena. Aristotle holds that it is through "simulated representation", mimesis, that we respond to the acting on the stage which is conveying to us what the characters feel, so that we may emphasize with them in this way through the mimetic form of dramatic role play. It is the task of the dramatist to produce the tragic enactment in order to accomplish this empathy by means of what is taking place on stage. As for what concerns the catharsis, then, Aristotle was the first that used this term not for pointing at a medical effect, but rather with reference to emotions, as a sensation or literary effect that, ideally, would either be experienced by the characters in a play, or be wrought upon the audience at the conclusion of a tragedy; namely, the release of pent-up emotion or energy. Aristotle considered it important that there be a certain distance between the work of art on the one hand and life on the other; we draw knowledge and consolation from tragedies only because they do not happen to us. Without this distance, tragedy could not give rise to catharsis. Before the Poetics, this edition collects also the Rhetoric books, Aristotle's treatise on the art of persuasion that is usually considered the cornerstone of the discipline. At the time of the ancient philosopher, the study of rhetoric was contested because of the use that the Sophists had made of it. As Plato and Socrates before him, Aristotle stated that rhetoric and poetry as tools that were too often used to manipulate others by manipulating emotion and omitting facts. In stark contrast to the emotional rhetoric and poetry of the sophists, was a rhetoric grounded in philosophy and the pursuit of enlightenment. One of the most important contributions of Aristotle's approach was that he identified rhetoric as one of the three key elements, along with logic and dialectic, of philosophy. Indeed, the first line of the Rhetoric is "Rhetoric is the counterpoint of dialectic." According to Aristotle, logic is concerned with reasoning to reach scientific certainty while dialectic and rhetoric are concerned with probability and, thus, are the branches of philosophy that are best suited to human affairs. Dialectic is a tool for philosophical debate; it is a means for skilled audiences to test probable knowledge in order to learn. Conversely, rhetoric is a tool for practical debate; it is a means for persuading a general audience using probable knowledge to resolve practical issues. Dialectic and rhetoric create a partnership for a system of persuasion based on knowledge instead of upon manipulation and omission. The volume is completed by the Nicomachean Ethics and the Politics, works that may be considered connected among them. In the former, Aristotle describes the happy life intended for man by nature as one lived in accordance with virtue, while in the latter, he describes the role that politics and the political community must play in bringing about the virtuous life in the citizenry. The Politics also provides analysis of the kinds of political community that existed in his time and shows where and how these cities fall short of the ideal community of virtuous citizens.ARISTOTLE (384-322 B.C.) is a towering figure in ancient Greek philosophy, making contributions to logic, metaphysics, mathematics, physics, biology, botany, ethics, politics, agriculture, medicine, dance and theatre. He was a student of Plato, but he was more empirically-minded than Plato or Socrates and he is famous for rejecting Plato's theory of forms. At the death of Plato in 347, his divergence from his teaching was too great to make him succeed him at the head of the Academy. So he left for the court of Mysia and there he stayed until he was called to become the tutor of the 13 year old Alexander, son of Philip of Macedonia (later world conqueror). Upon the death of Philip, he returned to Athens, where he found the Platonic school flourishing under Xenocrates, and Platonism the dominant philosophy of Athens. He thus set up his own school at a place called the Lyceum. When teaching at the Lyceum, Aristotle had a habit of walking about as he discoursed. It was in connection with this that his followers became known in later years as the peripatetics, meaning "to walk about." For the next thirteen years he devoted his energies to his teaching and composing his philosophical treatises. At the sudden death of Alexander in 323 BCE., a general reaction occurred against anything Macedonian. To escape prosecution, Aristotle fled to Chalcis in Euboea so that (Aristotle says) "The Athenians might not have another opportunity of sinning against philosophy as they had already done in the person of Socrates." AVERROES (Arabic name Abu al-Walid Muhammad ibn Ahmad ibn Rushd, 1126-1198 A.D.) was a Spanish-Muslim philosopher, physician and astronomy amateur; he worked as a judge in Sevilla and Cordoba, and travelled many times to Morocco due to official offices. His influential commentaries and unique interpretations on Aristotle revived Western scholarly interest in ancient Greek philosophy, whose works for the most part had been neglected since the sixth century. He critically examined the alleged tension between philosophy and religion in the Decisive Treatise, and he challenged the anti-philosophical sentiments within the Sunni tradition sparked by al-Ghazzali. Ibn Rushd contended that the claim of many Muslim theologians that philosophers were outside the fold of Islam had no base in scripture. His novel exegesis of seminal Quranic verses made the case for three valid "paths" of arriving at religious truths, and that philosophy was one if not the best of them, therefore its study should not be prohibited. Provenance: I. At title-page, two different ownership inscriptions, the first (erased) saying Frater Joannes Baptista Benedictus (?) and the second Ad usu(m) D.tis Stephani Abr(?), both in brown ink. References: CNCE 2957; ICCU, IT\ICCU\TO0E\014200. For more information for the editions printed by Comin da Trino, see P. Veneziani, Il libraio al segno della fontana, in «Gutenberg Jahrbuch», 74 (1999), pp. 242-266.

Condition Report:
A few water-stains and light oxidation of the paper, overall fine copy in wonderful binding.

Description:
CAGLIOSTRO'S DEFENSIVE MEMORY IN THE FAMOUS AFFAIR OF THE QUEEN'S NECKLACEEDITION UNKNOWN TO LATTANZICagliostro (Giuseppe Balsamo). Memoria in difesa del Conte di Caglyostro accusato contra il Sig. Procurrator Genelale [sic] accusatore, a fronte del Sig. Cardinale De Rohan, della Sign. contessa De La Motte, ed' altri Co-Accusati. [s. l., Paris?], [s. t.], 1786.Large 8vo (203x137 mm), contemporary blue paper binding, pp. 63, [1, blank]. Extremely rare edition, unknown to Lattanzi, of the defensive memory written by Cagliostro for the trial named affair du collier, a famous event of the French pre-revolutionary period, considered by Stefan Zweig "the funniest comedy ever to have amused the world".Let's come to the facts: the queen at issue is Marie Antoinette, who started her slow fall to hell just with this incident. Towards the end of 70's, the Parisian jewelers "Boehemer and Bassenge" offered to her an extraordinary necklace, made with all their diamonds' collection. Its value was equal to five-hundred kilos of gold: at today change, more or less sixteen millions euros. It seemed a bit expensive to the queen and it was not the case, at that time, to annoy the population even if she had not proposed yet to replace bread with croissants. As they say in these cases, the queen needed to think about it. The jewelers committed themselves to reserve her the jewel for a period of time (who else could buy it, anyway?) and they came back to their shops. After a few years, in 1785, the cardinal of Rohan showed to the jewelers an authorization signed by the queen in which the prelate appeared as a negotiator in charge to deal a hire purchase of the necklace. The jewelers seemed satisfied and Bohemer sent a letter to the queen to thank her for the purchase, but actually to solicit the payment of the first installment that had not arrived yet. Marie Antoinette seemed to be taken aback and, with her own characteristic impudence, burnt the letter, starting a sequence of minor and major events, conjectures, shifts of responsibility, power games. Rohan, in front of the king, admitted to have been charged not directly by the queen, but by the countess de La Motte Valois, a court's parvenue who passed herself off as the favorite of the queen, with a note signed by the queen herself: then the countess would had given the necklace to a man who seemed to be disappeared. Among memories and depositions, stories about night meetings and sapphism, the affaire became confused and fell into the public domain: accomplices and presumed ones were arrested and, at the end, the countess de La Motte was condemned to the jail for the rest of her life, and the naive cardinal Rohan was condemned to the exile, although acquitted of the fault's accusation. Marie Antoinette seemed innocent: nevertheless, her image had been compromised forever in the eyes of the population and the suspicions on her will never end, in particular when La Motte, escaped from Salpêtrière, published in London her harsh Mémoires against the queen. But how Cagliostro entered in this affair? At that time he lived in Rohan's house: to discharge part of her responsibilities, the countess de La Motte made his name as the author and the person behind the deceit and the Italian was immediately arrested together with his wife on the 22nd August 1785. Imprisoned in the Bastille, he was defended by the best lawyers in Paris, one of which helped him to write a self defense in French of which our copy is an Italian translation. The Memoriale besides reporting some acts of the trial and of the interrogation, is also a marvelous, unreliable summary of his life, from his birth to the arrest. On the 31st May 1786 the Parliament of Paris acknowledged the innocence of the two Italians, together with that of the cardinal Rohan, but a lettre de cachet by the king ordered them to leave Paris in eight days and France in twenty. The trial, however, signed the beginning of the decline of the fortune of this eclectic adventurer, alchemist, esotericist figure, who ended his days in 1795, walled up in the well of San Leo fortress a month after the famous trial established against him by the Vatican, because he was believed guilty of masonry, heresy, magic, pimping, false, fraud, slander, publication of seditious work and blasphemy against God, Christ, the Virgin Mary, the saints and the worships of Catholic religion. Backing on this affair, Thomas Carlyle wrote his Diamond Necklace (1837) and Alexandre Dumas father took the idea to write Le Collier de la Reine (1849-50). But the literary success of this famous trial is great. We have to remember, besides Carlyle's novel and the extraordinary Dumas' narration, the recent volume by Benedetta Craveri, Maria Antonietta e lo scandalo della collana (Adelphi 2006). The necklace's scandal has been represented many time in movies and it has been described also in a famous Japanese manga, Berusaiyu no Bara (literally: "The roses of Versailles"), also known as Lady Oscar.References: Edition unknown to Lattanzi, Bibliografia della Massoneria italiana e di Cagliostro, Florence, 1974 (it quotes only the French and German editions, published in the same year).

Condition Report:
A fine, unsophisticated and untrimmed copy, in its original printer's wrappers.

Description:
EXCESSIVELY RARE EDITION OF CARDANO'S MASTERWORK ON THE HIDDEN PROPERTIES OF STONES, METALS AND PLANTSONLY THREE COPIES RECORDED IN WORLDWIDE PUBLIC LIBRARIES CARDANO, GIROLAMO. Les Livres de Hierome Cardanus Medecin Milannois, intitulez de la Subtilité, & subtiles inventions, ensemble les causes occultes, & raisons d'icelles [...] A Paris, Chez Simon Calvarin, 1578.8vo (160x102 mm), full calf original binding with single gilt fillet frame to covers, gilt oval plaquette at the centre of each board, five raised bands spine decorated with blind-toolings, a single fillet in gold decorating the ends of spine, ff. [38], 478, [1, lacking the last, blank]. Text in French.Woodcut head-letters.Several woodcut illustrations in the text. Extremely scarce edition of «The Subtlety of Things» by the mathematician, astrologist and physician Girolamo Cardano. The work deals with what we would call «Trascendental Philosophy» and contains disquisitions on the hidden properties of stones, metals and plants, as well as observations on the nature of men and universe.The work is a valuable collection of dissertations, physical experiments and inventions, interspersed with anecdotes by Girolamo Cardano. In a philosophical style, the text speaks about the hidden features of universe, gathering in just one book notions about very different subjects as natural sciences, biology, physics, astronomy as well as anthropology and medicine. It is the work of an original Renaissance man: with his eclectic education and vital curiosity, in fact, Cardano gained a wide knowledge of many aspects of reality, being at the same time a skilled mathematician, the astrologist that casted Jesus's horoscope and one of the first doctors that ever contrasted asthma. In De Subtilitate, Cardano applied his mind and spirit of observation to the connections between cause and effects of quite everything in the world. Thus he obtained plenty of scientific conclusions: for example, he acknowledged that the fire changes his color depending on its warmth, or that the seashells that can be found in the rocks are the proof that the lands where they set had been a seabed in ancient times. Even if Cardano's writings are said to "lie on the fringes of occult and experimental literature", The Subtlety of Things in particular is a fundamental witness of the vigorous humanistic tradition of science, often neglected by the historians of this matter. Explicitly rejecting Aristotelianism as a synthetic explanation of the universe, Girolamo Cardano looks forward beyond the empty verbiage, obscurantism, and incongruity with the real and the natural that characterizes the traditional view of his time, namely the Scholasticism.The text of this edition was translated from Latin to French by Richard le Blanc, who dedicated his work to Marguerite de Valois, Duchess of Berry, sister to the king of France Henry II. Girolamo Cardano (1501-1576) was a perfect example of Renaissance man. Illegitimate son of a friend of Leonardo da Vinci, he studied mathematics and medicine at the university of Padua, but found it difficult to obtain a post after his studies due to his birth. In order to maintain himself he became a renowned and skillful gambler and inventor: he set the basis for the theory of probabilities, found the solution for the third and fourth degree equations, invented the cryptographic device called the Cardan grill and he was the first that spoke about the typhoid fever. After being accused of heresy (1570), he spent several months in jail and than moved to Rome, where he obtained a life by pope Gregory XIII and worked to his own autobiography, later considered by Goethe one of the most important books for his personal education. Provenance: I. Paper ex-libris printed in red ink belonging to the Bibliothèque de la Comtesse Chappaz de la Prat neé de Boisseau. II. At title-page, owner's inscription (illegible), probably written above a previous signature.References: Only 3 copies recorded in worldwide public libraries. Index Aureliensis, 132.113; OPAC Herzog-August-Bibliothek Wolfenbüttel (1998), A: 104.24 Phys; NUC (National Union Catalogue, Pre-1956 Imprints), 0128249; Dibner,Heralds of Science, 1980, nº 139 (speaking about the first edition of 1550): «[This] book represents the most advanced presentation of physical knowledge up to this time and the idea that all creation is in progressive development».

Condition Report:
Light browning to the first leaves and minor traces of usage; overall, very good copy in elegant binding.

Description:
UNIQUE COPY, UNKNOWN TO ALL BIBLIOGRAPHIES,OF THE LIFE OF CATHERINE OF ALEXANDRIATHE ARCHETYPE OF THE ANCIENT WORLD'S LEARNED WOMANVita de la beata Khaterina. [Roma: Eucharius Silber?, ca. 1489]. 4to (205x140 mm), modern full vellum binding with handwritten title in Gothic letter at spine, put within a slipcase covered in grey cloth with gilt title at spine, ff. 10. Roman type, 2 columns, 35 lines. Register: a10. Woodcut initials. Structure: f. a1r (full page woodcut picture of Saint Catherine, 164x93 mm); f. a1v: In nome del trino & uno dio; f. a10r: Sanctissima castissima & gloriosissima uirgi- / ne Katherina sobueni / ad me; leaf a10v is blank. Unique copy of a ghost incunable, unknown to all bibliographies: only Cioni, in his essay on religious poetry, seems to know about the existence of this printing, though he states that no copy still survives. The edition is close to that printed in Rome by Besickten and Martin of Amsterdam (HR, 4703), which has a similar woodcut picture on title-page that can be examined on Cioni's work (p. 119). The present edition differs from Besickten's one in the frame of the woodcut illustration and because it contains two more prayers. Cioni himself, describing Besickten's edition quotes this very one (p. 117) tagging it as lost: Una prima edizione stampata -come si rileva dal colophon di questa- è stata pubblicata nel 1489: non ne restano esemplari («A first printed edition - as this one's colophon states - was published in 1489: no copy survives»). The worship of martyr Catherine of Alexandria (ca. 287-304 A.D.) had a great impetus all along the Humanism and Renaissance period, also thanks to her legendary fame as refined model of eloquence capable of converting to Christianism the pagan rhetoricians and philosophers called by Maximinus Daia, Egypt's governor and then Roman emperor, in order to make her worship idols. Due to this reason, she is considered the studies' patroness: Catherine's features together with the doubts about her historical existence led to the hypothesis that her figure could overlap with that of the Alexandrine Hypatia (ca. 370-415 A.D.), mathematician, astronomer and philosopher brutally killed by the members of the Christian brotherhood of the Parabalans, recently rediscovered by literature and film industry as martyr of the freedom of thought and archetype of the science woman. References: Lacking to all incunabula collections and bibliographies, except GW that quotes this copy. Not in ISTC. See HR, 4703 (quoting Besickten's edition whose unique copy belongs to the Biblioteca Casanatense, vol. Inc. 1577). A. CIONI, La poesia religiosa: i cantari agiografici e le rime di argomento sacro. Firenze, Sansoni, 1963.

Condition Report:
Minor waterstains at outer margin of the last four leaves; overall, fine copy.

Description:
EXTREMELY SCARCE EDITION IN VENETIAN LANGUAGE: ONLY ONE COPY KNOWNDorisso Pireno (pseudonym). Bertoldo in ottave veniziane, cantae sul Canachion da Dorisso Pireno. Venice: Benedetto Milocco, 1758. 8vo (192 x 137 mm), modern half cloth with gilt-lettered title at spine, pp. 128.Extremely scarce edition, in Venetian language (the dialect of Venice), of Bertoldo written by an unknown author with the anagrammatic name of Dorisso Pireno .According to the story created by Giulio Cesare Croce, Le sottilissime astutie di Bertoldo (1620), Bertoldo is a farmer robust, stout and very rude, only able to respond in kind and to save himself with the cheating and the antics. His family consists of his wife Marcolfa, even more clumsy and vulgar, and his son Bertoldino of stupidity overly terrible, only able to create problems when the father is involved in his business. The great adventure begins when Bertoldo, riding his donkey that he decorously called "Horse", arrives at the court of the Lombard king Alboin (actually lived), which proof Bertoldo's ability making riddles. Bertoldo, given his cunning, responds brilliantly to all the questions and even seems cute and funny to the king, so that he hires him as a juggler and court jester.Bertoldo became the Idealtypus of a person simple but acute, and the character of many popular legends and poems of various regions in Italy.Provenance: Apparently, no copies in Italian public libraries. OCLC 61349578 locates only a copy in worldwide libraries at Yale University Library.

Description:
EXCEEDINGLY RARE FIRST EDITION AN EARLY TREATISE TO SUPPORT VEGETARIANISMNO COMPLETE COPY IN USAHealth-Vegetarianism. Knott, Thomas. Remarks on cruelty to animals. Containing observations and arguments indicating that man was intended to subsist entirely on the produce of the earth; quotations from history, showing the effects of animals and vegetable food on the health and characters of mankind; objections to the practice of flesh eating; answers to the arguments in behalf of flesh eating and the advantages of a vegetable aliment pointed out. Manchester: Printed by G. Nicholson and Co., 1795. 12mo (128 x86 mm), late paper boards, pp. 53, [1]. Small vignette at title page depicting a bowl of fruit. Exceedingly rare first edition of this early treatise on vegetarianism: analyzing costumes of different populations, religious principles, quotations from classical authors and medicals theories, the flesh eating practice is considered not only unethical and cruel towards animals, but also not safe for human health. Reference: Not in BL. ESTC lists only one complete copy (Oxford, Bodleian Library), and one incomplete in USA (Library Company of Philadelphia, lacking the title-page). OCLC, 43137893 (the Oxford copy) and 644308525 (University of Manchester Library, UK).

Description:
THE UNIQUE PILLONE COPY OF JOSEPHUS' «ANTIQUITIES OF THE JEWS» AND «JEWISH WAR»Josephus, Flavius [Joseph Ben Matityahu]. De antiquitate Judaica. De bello iudaico. Venice: Rossi, 23 October 1486. Folio (300x190), contemporary half calf on wooden boards (spine rebacked in 19th century), painted edges, brass clasps, traces of ties, ff. [278]. The wonderful and unique «Pillone copy» of both Josephus' historical masterpieces Delle Antichità, e Guerre Giudaiche («Antiquities of the Jews and «The Jewish War»), covering the most important events of the history of the Jewish people.In the 1580s, the painter CESARE VECELLIO -cousin of the more famous Titian- was commissioned by count Odorico Pillone (or Piloni), a rich family from Belluno, to paint the edges of his precious incunables with scenes related to the books' contents. The spines faced the back of the shelf. Although this experiment was made by others, this collection is unique for the importance of the books and for the beauty of the decorations. In this book, Vecellio represented the Siege and the Destruction of Jerusalem. The infra-red examen has evidenced the original colors: the composition is divided in four compartments: in the lower one, on a light blue background, in capital letters is written the acrostic IOS· D·B·I· (Iosephus De Bello Iudaico); over this title, the Roman soldiers with their spears besieging the Jerusalem Walls, shrouded by the flames, while the smoke (painted in white and grey) rises against the blue sky of Palestine. In 1875 the volumes were sold to Sir Thomas Brooke, who brought the whole collection in London. After Brooke's death, the entire collection was bought in 1957 by the great Parisian bookseller Pierre Berès for £700,000 of the time. Berès organized a great exhibition in Paris and a rich catalogue. Provenance: 1. At inside front board, both titles of Josephus' works manuscript in ink sepia by a contemporary Renaissance hand, probably by Antonio Piloni (1462-1533), father of Odorico; several unidentified contemporary annotations in the text (15th century). 2. Odorico Pillone (16th century). 3. Engraved bookplate of Sir Thomas Brooke (19th century) 4. Ex-libris Bibliothèque Pillone, n. 32 (20th century). 5. Ex-libris Fritz Michael Meyer, Amsterdam (20th century).References: T. Brooke, The Venetian Library, London 1891. P. Berès-L. Venturi (editor), Bibliothèque Pillone, Paris, 1957.IGI 5386; GW M15153; Goff J486; BMC V 415; BSB-Ink I-618; HC 9454*; Pellechet Ms 6755 (6718); CIBN J-310; Buffévent 317; Parguez 617; Zehnacker 1345; Hillard 1163; Polain(B) 4498; IBP 3280; Sajó-Soltész 1978; CCIR J-80; IDL 1823; IBE 3321; SI 2270; Hejnic 69; Madsen 2344; Sallander 2287; Martín Abad J-83; Sack(Freiburg) 2162; Schlechter-Ries 1131; Borm 1621; Hubay(Augsburg) 1262; Hubay(Eichstätt) 609; Voullième (Trier) 2113; Schmitt I 4224,10; Günt (L) 3655; Mittler-Kind 177; Walsh 2207, 2208; Oates 2011; Rhodes(Oxford Colleges) 1043; Bod-inc J-223; Sheppard 4111; Proctor 5118; ISTC, ij00486000.

Condition Report:
Minor traces of use, but very fine and fascinating. Special Note : For its importance for Italian history of printing and history of art, according to Italian Beni Culturali of Venice, the auctioneer declares that this book will not be exported out of Italy . Foreign residents can purchase the book only if they accept to keep it in Italy, lending the book to an Italian Museum or public library.

Description:
VERY UNUSUAL, PROBABLY UNIQUE COPY, OF AN IMPRINT IN MULTIPLE COLORSVarious Authors.Tributo di lodi a Giuseppe Mezzofanti Bolognese, creato Cardinale il XII Febbraio MDCCCXXXVIII. Tipi del Nobili e compagno, Bologna, 1838. Folio, (300 x 223 mm), contemporary half calf binding (slightly worn, old restorations at upper spine-end), pp. 118.Lithographic portrait of the cardinal at frontispiece, one engraving applied on brown paper between page 90 and 91. Unique book, printed in multiple colors (green, red, orange, pink), of writings in praise of cardinal Mezzofanti.The book is formed by two copies of the same work, with very wide margins, wider that what reported in bibliography. The first copy is printed on strong paper, in different colors, the second, identical to the first, is printed on regular paper. Probably, it is a unique (proof?) copy maybe to be gift to Mezzofanti himself).Provenance: Archetypon, Libreria Antiquaria.References: OCLC locates four "normal" copies in worldwide publique libraries, but there are no traces of other copies printed in multiple colors.

Condition Report:
Very fine copy of this strange forerunner of pop art in the art of printing.

Description:
THE ONLY COPY OF A MISSAL INCUNABLE PRINTED ON VELLUMUNKNOWN TO ALL BIBLIOGRAPHIESMISSALE ROMANUM. Missale s[ecundu]m usum sanctae Romane [sic] ecclesie. [at colophon:] Impressum iussu et impe[n]sis nobilis viri LucAntonij de giu[n]ta Florentini: Arte aute[m] Joan[n]is Emerici de Spira: Venetijs ducante felicissimo principe Augustino Barbadico. M.ccccxcviij. Quarto kal[endae]. Julij (Venice, Giovanni Emerico da Spira for Lucantonio Giunti, 28 June 1498).Folio (345x235 mm), 17th century full calf binding with three gilt frames to covers,title and decorations printed in gold at spine, ff. [2 our of 8], 200 (numbered inRoman numerals), [2 extravagantes]. Gothic letter, text on two columns, 39 lines. Title-page printed in red, with the title and Lucantonio Giunti's lily.Unique copy, printed on vellum, unknown to all bibliographies: just three complete copies of this editions are known, but all printed on paper.Lucantonio Giunti reprinted this missal in October of the same year 1498 (IGI, 6645) and it may be possible that this summer edition was just a test for the out-and-out printing. This would explain, at least partially, the great rarity of the paper copies and the uniqueness of the vellum volume.Lucantonio Giunti and Johan Emerich printed four other editions of this Missale Romanum, all of them very scarce: the first dates back to July 1496 (IGI, 6636)followed by the three printings edited by Pietro Arrivabene, one printed in November1497 (IGI, 6642) and the above-described two ones of 1498.It lacks (ab origine?) 71 leaves: leaves I (ai), III (aiii), VI (avi), VIII (aviii); XI (biii),XIV (bvi), XX-XXI (ciiii-cv), XXVI (dii), XXVIII-XXIX (diiii-dv), XXXI (dvii),XXXVI-XXXVII (eiiii-ev), LXVI-LXXI (i2-i7), LXXIV-LXXIX (kii-kvii), LXXXIXC (l-mii), XCII-XCIII (m iiii-mv), XCVI (m viii), CVI (oii), CXI (ovii), CXXVII (qvii), CXXX (rii), CXXXV (r vii), CXLV-CLVIII (the issues t, v and x), CXCIIICXCIV, CXCIX.Provenance: Elegant, manuscript note by contemporary hand, written in Gothicletter rubricated in red at the lower margin of f. CXXXIXv, with almost the same sizeof the the printed words; other smaller glosses in Gothic letter (rubricated as well) to leaves CXLI (recto and verso), CXLIII, CXLIIII and CXCv; notes in sepia to the verso of ff. CLXX and CLXXIV.References: There is no evidence of the existence of other copies of this edition printed on vellum in the bibliographies, the collections and the libraries of the whole world. As for the copies on paper, see ISTC, im00713300; Copinger, 4211; IGI, VI 6643-A; GW, M-24031; Bod-inc, M-269; Sheppard, 4562-4564; Ohly-Sack, 2024; Hubay(Würzburg), 1486; Sander, 4775. Weale-Bohatta, Bibliographia liturgica, London 1928, 945; Martimort, Missels incunables d'origine franciscaine, Louvain, 1972, pp. 359-78, n. 24; R. Salaris, in «La Bibliofilia», 18 (1916), pp.185-193, n. 354.Worldwide Census (just for the paper copies): 1. Piacenza, Biblioteca Civica 2. Vigevano, Biblioteca Capitolare; 3. Frankfurt, StädelKunstI; 4. Oxford, Bodleian Library (imperfect: it is the copy of the Bishop's House of Portsmouth, sold at Christie's on the 5 July 1967); 5. Würzburg, UB (imperfect).

Condition Report:
Minor traces of use, but overall, a fine copy. Special Notice: THIS LOT ALREADY HAS THE EXPORT LICENSE RELEASED BY THE ITALIAN MINISTRY OF CULTURAL HERITAGE .

Description:
ALMOST A GHOST EDITIONONLY ONE INCOMPLETE COPY KNOWNPalmieri, Giovanni. Historia del volto santo di lucca, Detto comunemente S. Croce. Cauata da quella, che già compose il R. P. Cesare Franciotti, Sacerdote della Religione della Madre d'Iddio. Rome, Francesco Moneta, 1650. 8vo (210 x 140 mm), 20th century limp wrappers, pp. 16.Engraved illustration of Volto Santo at title-page, made by the same Palmieri.Almost a ghost edition of this work, in first and only edition, the renowned acheiropoieta Medieval crucifixion known as " Holy face" of Lucca, commonly called in Italy Volto Santo di Lucca.Acheiropoieta (Byzantine Greek, αχειροποίητα, «made without hand») are a particular kind of icon which are said to have come into existence miraculously, "not created by a human painter". Invariably these are images of Jesus or the Virgin Mary. The most notable examples are, in the Eastern church, the image of Edessa or Mandylion, and in the West, the Veil of Veronica, the Shroud of Turin and the Holy face of Lucca. Provenance: 19th century owner's inscription Sac. Attilio Pozzi Como at title-page. 2. A postcard from Lucca (dated 24 November 1916) attached with scotch tape at first fly-leaf and representing the Holy Face.Reference: Only an incomplete copy known, at Biblioteca Casanatense, Rome (wanting the title-page). IT\ICCU\RMLE\054399.

Description:
UNIQUE AND ONLY KNOWN CIRCULATING EVIDENCE OF THE MANUSCRIPT OF THE PICATRIX THE MOST FAMOUS ARABIC ESSAY ON CEREMONIAL MAGICMASLAMA AL-MAGRITI. [Gayat al-Hakim]. Di Magia cerimoniale usata dagli Antichi fatta da Giovanni Piccatrice filosofo [manuscript on paper, written in Italian, dated July 1624]. 8vo (147x106 mm), contemporary limp vellum binding, handwritten title at spine, traces of blue silk ties, ff. [4, blanks], [4, Tavola], 122 (discontinuously numbered on the top right corner by contemporary hand in brown ink and interpolated with white sheets), [4, blanks]. WATERMARK: Clover, between quire A and OWRITING SYSTEM: Chancery handwritingSTRUCTURE: The manuscript contains the third book of Picatrix, with 109 chapters numbered in Roman numerals until the XXXXXXIX chapter and, from the 70th on, in Arabic numerals until the chapter 104, the last one. Follows the Explicit with the date, and an Aggionta [Addition] with the chapters 105-109. THE ONLY KNOWN MANUSCRIPT IN ITALIAN OF THE THIRD BOOK OF THE PICATRIX, «THE MOST COMPLETE AND BEST SHAPED ARABIAN MAGIC ESSAY» AND THE MOST WIDESPREAD TEXT ON THE THEORETICAL AND CEREMONIAL MAGIC OF THE ENTIRE ESOTERIC CULTURE IN THE WEST, THAT HAD A FUNDAMENTAL IMPORTANCE FOR THE ASTROLOGICAL OCCULTISM IN THE LATE MIDDLE AGES AND IN THE RENAISSANCE. The Picatrix, (original title Gāyat-al-hakīm, "The wise man's sake") was originally written in Arabic language between 1047 and 1051 AD by an Arabic man from Cordoba known as Maslama al-Magriti and then translated de arabico in hispanico [from Arabic to Spanish language] in the Court of Alfonso the Wise the 10th of Castile in 1256: not even a copy of this Spanish translation survived. Between the evidences in other languages, some Latin parts of the Picatrix are kept at the Bibliothèque de l'Arsenal in Paris. The work, an exhaustive summa of the ancient and medieval magic, spread across Europe with the Latin title and was readily labeled as impious: the Picatrix became soon the Satanic manual by definition, so that its author was labeled "Dean of the Diabolical Academy". Because of its reputation of being satanic, THE PICATRIX WAS NEVER PRINTED BUT IT HAD A HUGE MANUSCRIPT CIRCULATION DURING THE RENAISSANCE: copies in Latin were found in the libraries of the most famous humanists, such as Pico della Mirandola, Pietro d'Abano, Marsilio Ficino, Leonardo da Vinci, Cornelius Agrippa and Tommaso Campanella. Their opinion on this work was more shifty: Pope Paolus II had always a copy of the Picatrix in his pocket, but Pico wrote obliquely about it, commenting the Orazioni by Pietro d'Abano that he said were based on the Picatrix: «Orationes puto ex Piccatrice magna ex parte decerpsit Aponensis, vanissimo libro, superstitionibus pleno et velut scala and idolatriam facto, in quo et preces ad quemquam planetam docentur et suffimenta et conciliationes pravorum spirituum, quae ob stultitiam explodenda et ob superstitione penitus execranda sunt» (G.F. PICO, De rerum prenotione, VII, 7 in Opera Omnia, Basel, 1572). In the Arabic culture, it was greatly considered and appreciated. The famous Arabic philosopher Ibn Khaldum defined it: «The most complete and best shaped Arabian magic essay». Regardless of individual ancient reader's opinion, the Picatrix is a treatise about astrological-talismanical magic arbitrarily branded as satanic work: it was born with the purpose of gathering knowledge of the Hellenistic world, whose sources were unavailable in the West World. During the peace that followed the end of the Roman Empire, as commercial and cultural trades were re-established, Arabic works were translated and spread among Europe where were included in medieval universities. The origin of the success of the Picatrix in the Middle Ages was related to its proximity with the Greek and Latin philosophical tradition, which was still the background of the medieval culture however strong the Church tried to demolish or to assimilate it. The main theme of the Picatrix was about the effort to influence and to interpret the cosmos with magical-theurgical acts, according to the precise knowledge borrowed from Greek astronomy, from ancient mysteries and from naturalistic philosophy. This tradition, from Heraclitus to the Neoplatonics, assumed the existence of a link of sympathia, a cosmological correspondence between the macrocosm and the microcosm. AFTER THE MIDDLE AGES, also during the Renaissance the Picatrix was highly regarded thanks to the more tolerant climate that was conveyed by the Humanists, and to the eagerness for new philosophical and technical knowledge: works of the ancient world came back in Europe in their original language, straight from the Far East. The main event was the publication of Plato's works, Neoplatonic's studies and a series of books under the name of Corpus Hermeticum, all translated by Marsilio Ficino under commission of Cosimo de' Medici and published by Aldo Manuzio in 1497. In this cultural climate, the Picatrix, with the Versa Aurea and the Oracola Caldaica, found its perfect spot, maybe more in a intellectualistic sense rather than in a practical one. The magical-scientific theories in the book were taken by the sage Humanists as a further confirmation of the necessity of a reconciliation between dominant religious thought and early-scientific heathen philosophy. Back then, they believed they could come to a compromise with the Roman Church, combining faith with ancient philosophy, setting for themselves the role of the scholar at the same time as a Renaissance wizard, an hermetic philosopher, an alchemist and a priest: Marsilio was a clergyman himself, and Giordano Bruno a Dominican friar. Both the Humanist and the author of the Picatrix believed, in full good faith and with religious heart, that was extremely necessary for them to act in the world, not just relying on Providence, but also cooperating willingly with God in the management of His work. This idea was completely alien for the Christian scheme of things, and the clergy strongly relied on biblical Creationism of the Old Testament. This genuine will to mingle aroused suspicions in ecclesiastical circles for quackery, magic, heresy. The Picatrix on the contrary claimed that the wizard never can be a hoaxer, coming abreast of Nature, revealing it. Being a theurgist, who doesn't replace God because he never creates out of nothing, he holds the ability to manipulate not by performing miracles but by reading through the forces of the cosmos, almost a middle-man between heaven and earth. As Taioli says, the wizard is the one «whose power and faculty comes from the deep knowledge of Nature and of Everything, of the physis, from knowing the links bounding Words to the World. Statues and talismans are intermediary tools between those worlds and the wizard, basing on the knowledge of the Nature, becomes able to read through influxes and to modify their outcome, if ominous, in positive energies».It seems that the Picatrix, then, «tries to catch the necromancy in its positive and scientific forms, apt to improve the world». Regardless for its magical theories, the Picatrix should be analyzed on several layers, because in its spread across Europe it is probably possible to find the origin of the conflict between the free pursuit of hidden natural laws and the passive observance for dogmas, between religious extremism and science of progress. EXEGESIS OF THE TEXT: It remains dark. It is not yet known what the author of the Picatrix meant with those spells, lists of magical images and practical magical suggestions, conveyed through philosophical hermetism. Generally speaking, the book is about the said sympathia between plants, rocks, animals, planets and the way it is possible to use this elements for magical purposes. «To touch the fire without burning: take a double mallow and egg white, chopped parsley seed and lime and spruce juice. Rub the body or the hand and let it dry out. Repeat the operation. The you can touch the fire without being burnt». There is also an analysis of the power of images and seals. After and introduction about philosophical ideas, close to those of the hermetic tradition as the Pimandro and the Asclepio (Neoplatonic continuity from One to reality, adjacency of spirit and matter), the author of the Picatrix carries on in the first two books with the art of crafting talismans starting from a series of images, listed carefully. In the third book the writer debates on the correspondence between stones, animals and plants with planets, signs of the zodiac and body parts, combining spells in order to invoke the spirits of each planet. Also the fourth book is about similar subjects and it ends with a series of prayers to the planets. STRUCTURE OF THE PICATRIX: «This essay is divided into four books and some of them are in turn split into parts». «The first book is about heaven and its effects on earth through the configurations that it can assume. The second is mostly on the configurations of heaven, on the movement of the eighth sphere and on their effects on the world». «In the third we can find planets and signs' properties and their combinations and images. It is unequivocally treated of illustrations and shapes in all their variety and how it is possible to communicate with planets' spirits, as well as of many other necromancies». «The fourth eventually is about spirits' properties and about every other thing should be considered in this art in order to make use of talismans, fumigations and so on».STRUCTURE OF THIS MANUSCRIPT: ff. ir-(iiii)r (index): the text begins with the Tavola del libro terzo [Plate of the Third Book], displaying the 104 chapters that are going to be developed; at the end of this, in the f. 4v, there is an Aggionta del libro [Add to the book]; at the f. (1)r-4r, the INTRODVTTIONE ALLA CERIMONIALE (in caps on the first f. that is not numbered). At the f. 5r, the incipit: Magia Ceremonial / Vsata dalli Antichi / Fatta da Giovanni Piccatrice / LIBRO TERZO [Ceremonical Magic / Used by the Ancients / Made by Giovanni Piccatrice / THIRD BOOK] and the title of the first chapter, introducing the following two: Delle parti de' Pianeti essistenti nelle piante, nelli Animali, et ne' metalli [About the parts of the planets existing in plants, animals and in metals]. At the ff. (6)r-17r (chapters 2nd-22nd) those planets parts are considered, as much as constellations and signs of the zodiac. At the ff. 17r, the author closes this first coverage with the 22nd chapter, Delle parti de' Pesci [About the parts of the Pisces], here in full:«I Pesci de' membri del corpo hanno i piedi, le ungie et i nerui, dei colori il uerde et il bianco, dei sapori il garbo, dei luochi i liti remoti et heremi, et i liti del mare, et i luochi delle acque, e peschiere. Delle pietre le bianche piccole, e chiare, come il Cristallo, le Margarite di qualunque sorte. De' gli arbori quelli che sono conuenienti, fra lunghi, e breui, e tutti quelli che nasceno in acqua: e degli animali, gli animali acquatici, e che sima(n)giano: e queste sono le proprietà delle cose, le quali i pianeti et i segni hanno, le quali sono appropriate in quelle: ma auuertasi in esse quello che deue essere nelle radici della Magia». At the ff. 17v-23r (chapters 23rd -36th) are introduced tinture, figure, uestimenti e suffumigationi [tinctures, figures, garments and fumigations] of the planets (and signs); at the ff. 23r-26v (chapters 37th -43rd) there are the Propositioni e stati del Cielo necessatij à ciascuno de' Pianeti ovvero quello che si deue ricercar dai singoli pianeti [Configurations and states of Heaven necessary for each Planet - or - what should be sought from every single planet]; at the ff. 23r-33v (chapters 45th-52nd) Nature de' pianeti [nature of planets]. In ff. 33v-76r there is the core of the book since there are the ceremonial chapters (53rd-67th) that lead trough magical rituals in order to obtain the favor of the planets: first chapters, titled Quando uorrài parlare con Saturno [when you will speak to Saturn] and Quando uorrai parlare con Gioue [when you will speak to Jupiter], Quando uorrai fare Oratione a Marte [when you will pray Mars] are followed by a series of Suffumigationi [fumigations] and Orationi [invocations]:« (Piglia) storace, de' piedi di colombi, di Peonia, di Calamo aromatico, di Rasina di pino, di seme di elleboro parti eguali. Siano tritati et incorporati (...) et getta una delle preditte pillole nel foco nel terribolo, e riuolto uerso la parte del Cielonella quale Gioue sara dirai (seguono due Orationi): O RANCHAYBIL, Angelo il quale Dio hà posto con Gioue, Tu Gioue sei la fortuna maggiore, compita a tutte le cose compite, cofattor di quelle, tu ueramente sei sensato, sei sapiente, e di buono intelletto, il quale sei remoto dalle male operationi, e dalle brutture, e da ogni malitia, Ti inuoco in tutte le operationi tue, e ti chiamo in Arabico Apollo, in lattino Juppiter, et in Jurgis (?) FENIM, in Romano DERIMUM, in greco JANUS, in Indiano GUAMFAT. (...) Di poi prenderai un Agnello bianco, e lo decollerai, e tutto abbrucerai, eccetto il suo fegato il quale mangerai (...)». At the ff. 53r-55v there's a Incanto contro gli Inimici [spell against enemies] and (ff. 55v-76r) some more Suffumigazioni [fumigations] and Orationi al Sole [invocations to the Sun], to Venus, to Mercury, to the Moon, to Saturn. At the ff. 76r-106v we find chapters (63rd-104) on how to attrahere le forze di ciascun Pianeta, e di nominare I spiriti di quelle forze [attract the powers of each Planet, and to name the spirits of those forces], with the operationi [operations] that are to be done through them and the suffumigazioni [fumigations], with high regard for alchemical spells and magical predispositions. At the f. 107r the explicit: Finita l'anno 1624 alli 15 Luglio [concluded the 15th of July 1624]. Ff. 107v-110 are blank. At the f. 110v starts the Aggionta di alcune cose, che mancauano nel presente libro 3°, o determinato di metterle quà presente acciò sia perfetto in tutto, et se ui sono in alcuni luochi spatij, l'istesso Autentico gli ha tralasciati [Add of some things that were missing in this 3rd book, I decided to put them here to make it utterly complete, and if there are flaws, the Authentic himself omitted them]. At the f.111r there is a Raccordo, che si deue tenere nelle sopradette confettioni, sottoporte alli 7 Pianeti [joint to the section of the 7 Planets], a memorandum with the operations and helpful materials for every planet:« Raccordati, che le soprad. confettioni de tutti i Pianeti si deuono incorporare con miele spumato, et di quelli si faccino trocisci (...)». At the ff. 111v-113r a Vntione usata dalli Indiani quando uoleuano predicare al popolo, et abbondauano il loro spirito, et li dauano gratia e fortezza s(opr)a tutti, et li obbediuano [Ointment used by Indians when they wanted to preach to the people, that raised their spirit and gave it grace and strength over everyone and made people obey them], an ointment to manipulate the will of people. The f. 114; at the ff.115-117 there is another unction per hauere gratia dalli homini [to have favor from people] and its invocation to the Sun. the f. 118 is blank; at the ff. 119r-122r other Cose che mancano nel libro hò determinate di metterle qua nel fine del presente libro, acciò no(n) possi mancare niente a quallo, che si aspetta dell'ordine di operare [Things that were missing and I thought to put here in order that nothing else would miss to it] such as a confettione [enchantment] to make invisible and its formula and invocation: «Io ti prego Angelo spirito di Negroma(n)tia, et delle cose ascose, Tu, il quale eri detto SILVAVQVIL (...)». In ff. 121v-122r the writing becomes hectic and stops abruptly with those words: «Sappi che questo è un grandiss.(imo). Segreto, et molto utile, però custodiscilo ottimamente, et riserualo» [Be aware that this is a very important secret and very helpful, guard it and keep it]. TRADITION OF THE TEXT IN VERNACULAR: In Libro de natura de amore [Book of nature of love] (f. 153r), Mario Equicola shows the knowledge of the vernacular Picatrix, translating its name: : «Né Piccatrice et Plines removeranno una minima particola di tale passione col sangue de homo, cerebro de rendena, lacte, succo de myrto etbructeza dela orecchia sinistra». In the Codice Ashburnhamiano 286 of the Laurenziana (Segretti meruigliosi di natura, dated June 1628), the anonymous writer quote sas his sources Porta, Cardano and the Picatrice [sic]. REFERENCES: ABUL-CASIM MASLAMA BEN AHMAD. Picatrix, (M. Villegas edidit), Madrid, 1982 (Picatrix's Spanish translation). ALMAGRITI MASLAMA (P.A. ROSSI edidit), Picatrix. Il fine del saggio (version coming from the translation in Brisighella, 1536), Milan, Mimesis, 1999. PSEUDO-MAGRITI. (G. Bing, editor) "Picatrix". Das Ziel des Weisen. Studies of the Warburg Institute. Edited by G. Bing. Translated from the Arabic into German by Hellmut Ritter and Martin Plessner, University of London, 1962. M. PLESSNER, A Medieval Definition of Scientific Experiment in the Hebrew Picatrix, in «Journal of the Warburg and Courtauld Institutes», n. 36 (1973), pp. 358-359. V. PERRONE COMPAGNI, Picatrix latinus, in Medioevo, I (1975), pp. 237-337. V. PERRONE COMPAGNI, La magia cerimoniale nel Rinascimento, in Atti dell'Accademia di Scienze morali e politiche, LXXXVIII, 1977, pp. 279-330. S. MATTON, La magie arabe traditionelle, Paris, 1977 (it includes the French translation of some parts of the Picatrix). FRANCES A. YATES, Giordano Bruno e la tradizione ermetica, Rome, Laterza, 2000. Essential for writing this dossier was professor Roberto Taioli's work (must also be thanked Elena Frasca Odorizzi, whose translations we used), in R. TAIOLI, Il trattato del Picatrix e i suoi rapporti con la magia, Milan, 2009. For the Spanish version: D. PINGREE, Between the Ghaya and Picatrix I: The Spanish Version, in «Journal of the Warburg and Courtauld Institutes», n. 44 (1981), pp. 27-56.

Condition Report:
A very fine and unsophisticated copy, perfectly preserved.

Description:
VERY SCARCE COPY PRINTED ON VELLUMTHE COPY QUOTED BY BRUNET, WITH CARDINAL ORSINI'S SIGNATUREPIUS V (POPE). EXTENSIO, AMPLIATIO | NOVA CONCESSIO, ET CON- | FIRMATIO PRIVILEGIORVM | SANCTISS. AC BEATISS. D. D. PII | HVIVS NOMINIS V. | PONT. MAX. | IN SACROS ORDINES, ET | CONGREGATIONES CLAUSTRALES. | PRO CANONICIS REGVLARIBVS | ORDINIS S. AUGUSTINI CONGREGATIONIS | DOMINI SALUATORIS. | R O M AE | APUD HAEREDES ANTONIJ BLADI IMPRESSORES CAMERALES. | M. D. LXVII. [Rome, Heirs of Antonio Blado, Cameral Printers, 1567].4to (226x154 mm), blue morocco modern binding within a box in the same material, gilt frame to covers, five raised bands spine with decorations and letterings printed in gold, ff. [12]. At title-page, woodcut printer's device with the Christus Salvator Mundi, full-page xylography at verso of title-page representing St. Augustin in episcopal dress and, by his feet, the arms of Pius V. Woodcut initials.Very scarce copy printed on vellum, with the signature of Cardinal Flavio Orsini and the countersignature of the notary Matteo Boccarini: this is the copy quoted by Brunet in his Trèsor and, afterwards, by Graesse, both recording the presence of this copy on the antiquarian market around the middle of the 19th century.The book deals with the confirmation and extension of the privileges bestowed by the Pope to the Regular Canons of the Congregation of the Holy Saviour in Lateran, best known as St. John in Lateran. On the 3rd of March of 1566, Pius V appointed Flavio Orsini dean of the Congregation of the Regular Canons of St. Augustin of the Holy Saviour: the original document is stored in the «Archivio Storico Capitolino».Provenance: Presumably the copy made for the Pope himself, as proven by the use of vellum as printing basis. At verso of the last leaf, official signature Fra: Car.lis Urs.s with countersignature of the notary M. Boccarinus ca: ap: not(aius): he should be Matteo Boccarini from Amelia (near Terni), very close to the Orsini family. Boccarini himself was the notary that wrote the wedding contracts between Federico Sforza of St. Fiora and Beatrice Orsini, to whom Flavio Orsini let a dowry of 22000 scutes (Archivio Orsini, in «Archivio Storico Capitolino», II.A.26,003).Census: No copy on vellum in Censimento. Also the paper copies are scarce, only 5 copies located in Italian public libraries: Bologna U; Reggio Emilia, Biblioteca Panizzi; Reggio Emilia, Archivio di Stato; Roma, N; Roma, Biblioteca Angelica. There seems to be no copy (unaccountably) at the Vatican Library.References: The copy quoted by Brunet (IV, 681): «Un exemplaire imprimé sur VÉLIN, accompagné de la confirmation desdits priviléges, par le cardinal Orsini, en manuscrit. 2 liv. 16 sh. Libri, en 1859». Graesse, V, 307: «Il ne existe un ex. tiré sur vélin (15 fr. Mac-Carthy. 2 l. 16 sh. Libri)». For the original manuscript of this work see in «Archivio Storico Capitolino» (Archivio Orsini, II.A.26,005).

Condition Report:
A small hole probably due to a metallic point (binder's distraction?) at lower inner margin. A very fine copy.

Description:
RARE PROCESSIONAL OF THE DOMINICAN FRIARS PRINTED BY GIUNTIProcessional of Dominicans. Processionarium Ordinis Praedicatorum: in quo preter alia emendata Sanctorum com memorationes, que ad Altaria ipsis dicata sunt, nup sunt addite quas ex tabula in principio lebelli posita, cognosces. Venice: Apud Iuntas, 1572. Large 8vo (163 x 110 mm), near contemporary binding with elaborate gilt borders on each cover with, at center, the gilt plaquette of the Madonna of San Luca (front cover) and the gilt plaquette of Saint Dominic (rear cover), four raised bands spine with gilt ornaments at compartments, gilt and embossed edges, ff. [4], 182. Small woodcut vignette at title-page depicting Saint Dominic. Lily red (Giunti device) at title-page and at last leaf. Woodcut head-letters.Entirely printed in black and red with gregorian chants.A full-page woodcut representing the Dominican Order, with all the major Saints of this congregation. Rare edition of the Processional of the Dominicans containing the liturgical chants written by Peter Damian. Saint Dominic also known as Dominic of Osma and Dominic of Caleruega, often called Dominic de Guzmán and Domingo Félix de Guzmán(1170 - 1221), was a Spanish priest and founder of the Dominican Order. Dominic is the patron saint of astronomers.In 1215, Dominic established himself, with six followers, in a house given by Peter Seila, a rich resident of Toulouse. He subjected himself and his companions to the monastic rules of prayer and penance; and meanwhile bishop Foulques gave them written authority to preach throughout the territory of Toulouse. In the same year, the year of the Fourth Lateran Council, Dominic and Foulques went to Rome to secure the approval of the Pope, Innocent III. Dominic returned to Rome a year later, and was finally granted written authority in December 1216 and January 1217 by the new pope, Honorius III for an order to be named "The Order of Preachers" ("Ordo Praedicatorum", or "O.P.," popularly known as the Dominican Order).Reference: CNCE 17517. Out of Italy, OCLC locates only three copies in worldwide public libraries (one in USA, at University of California, Los Angeles).

Description:
UNIQUE SURVIVING COPY OF A PSALTER/BREVIARY DEVOTED TO SAINT NICHOLAS OF BARINO COPY KNOWNPsalter of Saint Nicholas of Bari Si Psalterium Lector queris Parisiensi more institutum, ac ad peculiarem usum celeberrime divi Nicolai in Bario basilic(a)e undiq[ue] reformatum, hoc ipsum habe: Quod prefecti eiusdem Basilice ad id deputati: magna cura: diligentiaq[ue] recognitum et castigatum: Venetiis quam fedelissime imprimendum curavere. Venice: Francesco Rampazetto, [between 1572 and 1580, according to the device employed]. [bound with:]Commune Sanctorum. In Natali unius apostoli: vel plurimorum. Ad vesperas super psalmos. Without date, without printer.[bound with:]Rubricae. Without date, without printer.[bound with:]Breviarium Parisiense. Incipit breviariu(m) secundu(m) morem Parisie(n)sis ecclesie: et sancti Nicolai barensis ecclesie observantia(m). [at colophon]: Venetiis, p(er) Joan. Anto. et fratres de Sabio, 1526.[bound with:]Ad Laudes dei patri omnipotentis et beat(a)e mari(a)e virginis mirificiq(ue) beati Nicholai confessoris: Incipit breviarium sanctor(um) s(ecundu(m) more(m) parisie(n)sem.8vo (150 x 111 mm), contemporary full calf binding with blind-toolings with rosettes and putti on both covers, blind-tooled central plaquette with the Virgin and the Child, ff. [12], 72 (Psalterium); 24 (Commune Sanctorum); 12 (Rubricae), 154 (Breviarium Parisiense); 112 (Breviarium Sanctorum). It lacks a final quire.Printed in black and red. Woodcut head-letters, woodcut allegorical borders with biblical scenes at four pages.Four full-page woodcuts, two of them representing Saint Nicholas. Ghost edition of a Psalter/Breviary devoted to Saint Nicholas of Bari. This strange edition seems made by Rampazetto assembling various previous editions.Saint Nicholas (270 - 343), also called Nikolaos of Myra, was a historic 4th-century Christian saint and Greek Bishop of Myra (Demre, part of modern-day Turkey) in Lycia. Because of the many miracles attributed to his intercession, he is also known as Nikolaos the Wonderworker. He had a reputation for secret gift-giving, such as putting coins in the shoes of those who left them out for him, and thus became the model for Santa Claus, whose modern name comes from the Dutch Sinterklaas, itself from a series of elisions and corruptions of the transliteration of Saint Nikolaos. His reputation evolved among the faithful, as was common for early Christian saints. In 1087, part of the relics (about half of the bones) were furtively translated to Bari, in Apulia, Italy; for this reason, he is also known as Nikolaos of Bari. The remaining bones were taken to Venice in 1100.The historical Saint Nicholas is commemorated and revered among Anglican, Catholic, Lutheran, and Orthodox Christians. In addition, some Baptist, Methodist, Presbyterian, and Reformed churches have been named in honor of Saint Nicholas. Saint Nicholas is the patron saint of sailors, merchants, archers, repentant thieves, children, pawnbrokers and students in various cities and countries around Europe. He was also a patron of the Varangian Guard of the Byzantine emperors, who protected his relics in Bari.It is said that in Myra the relics of Saint Nicholas each year exuded a clear watery liquid which smells like rose water, called manna (or myrrh), which is believed by the faithful to possess miraculous powers. After the relics were brought to Bari, they continued to do so, much to the joy of the new owners. Vials of myrrh from his relics have been taken all over the world for centuries, and can still be obtained from his church in Bari. Even up to the present day, a flask of manna is extracted from the tomb of Saint Nicholas every year on 6 December (the Saint's feast day) by the clergy of the basilica. The myrrh is collected from a sarcophagus which is located in the basilica vault and could be obtained in the shop nearby. The liquid gradually seeps out of the tomb, but it is unclear whether it originates from the body within the tomb, or from the marble itself; since the town of Bari is a harbor, and the tomb is below sea level, there are several natural explanations for the manna fluid, including the transfer of seawater to the tomb by capillary action.Provenance: Signature Caroli Caldori at title-page. Carlo Caldori was a canonic and writer from Fabriano. In the Archivio Storico della Collegiata di San Nicolò, in Fabriano, there is an autograph manuscript of Caldori that tells the story of an incredible journey to Bari with two other pilgrims to collect the holy manna from the bones of the saint; the priest declares that, coming back from Bari, they were attacked by bandits, robbed and left with only their shoes and socks. Probably, the priest had with him also this breviary.References: Unknown to all bibliographies. No traces of this edition in worldwide public libraries and collection.

Description:
A GHOST EDITION OF SANDEO'S COMMENTARY IN DECRETALSUNKNOWN EDITION, UNIQUE COPYSandeus, Felinus. In quartum et quintum decretalium [...] commentaria.[at colophon:] Venetiis, Simon de Luere & Andreas Torresanus de Asola, IV die Januarii, 1504 (Venice: Simon de Luere and Andrea Torresano, 4 January, 1504).Folio (430x300 mm), modern paperboards, ff. 108. Title-page still in 15th century style, with a large Torresano's device at center, Tabula with separate title. Text in Latin, on two columns, Gothic type.A ghost edition, unknown to all reference books, of Sandeo's commentary in Decretals.Felino Maria Sandeo (1444-1503) was an Italian jurist born in Felina, near Reggio. A teacher of canon law at Ferrara from 1466, he was appointed professor of canon law at Pisa in 1474 and a judge of the Roman Rota in 1486. He was elected bishop of Penne-Atri and coadjutor of Lucca in 1495, and succeeded as bishop of Lucca in 1499. He had a high reputation as a canonist and papal adviser; his commentary on the Decretum Gratiani, was frequently republished. Some unedited works are mentioned in Fabricius, Bib. latina mediae et infimae aetatis with additions by Mansi, II (Florence, 1858), 558.References: Unknown to all reference books, including Renouard. No copies in worldwide collections and public libraries: apparently the only existing copy.

Description:
UNFOLDED, UNCUT AND UNTRIMMED COPYOF AN EXCEEDINGLY SCARCE EDITION IN PRAISE OF THE EMPERORS LEOPOLD AND ELEONOR OF HABSBURGSaxius, Franciscus Hieronymus. Religio in aula. Laus augustiss. conjugum magni Leopoldi Austriaci, et Eleonorae Magdalenae Teresiae Neoburgensis. Authore Francisco Hieronymo Saxio olim praeposito gener. Congreg. Oblatorum Sanctorum Ambrosii, et Caroli, nunc Mediolanensis Ecclesiae Canonico Ordinario, Comite &c.. Mediolani: ex typographia Josephi Pandulphi Malatestae, MDCCXXIV. (Milan: Malatesta, 1724).4to, unbound, uncut, untrimmed, pp. [8], 99, [1]. Dedicated to Emperor Charles VI (1685-1740), in charge at the time of the imprint and second son of the royal couple.Engraved head- and tail-pieces, engraved initials.A large engraved plate, after a drawing of Johan Baptist Saxsus («Jo. Bapt. Saxsus del., C.B. sculp. Med.»), representing the Emperor Charles VI in front of the portrait of his parents.Excessively scarce collection of poems in praise of Leopold I, Holy Roman Emperor, and Eleonor Magdalene of Neuburg, probably withdrawn from distribution just after the printing.An outstanding sample of an edition remained as after the printing, not paginated, uncut and folded once.Leopold I (1640 - 1705) was Holy Roman Emperor, King of Hungary and Croatia and King of Bohemia. After more than a decade of warfare, Leopold emerged victorious from the Great Turkish War thanks to military talents of Prince Eugene of Savoy. By the Treaty of Karlowitz, Leopold recovered almost all of the Kingdom of Hungary which had fallen under the Turkish yoke in the years after the 1526 Battle of Mohács.Leopold fought three wars against France - the Dutch War, the Nine Years' War, and the War of the Spanish Succession. In this last, Leopold sought to give his younger son the entire Spanish inheritance, disregarding the late Spanish king's will. To this end, he started a war which soon engulfed much of Europe. The early years of the war went fairly well for Austria, with victories at Schellenberg and Blenheim. But this was a stubborn war that would drag on till 1714, nine years after Leopold's death which, in truth, barely had an effect on the warring nations of Europe.Eleonore Magdalene of Neuburg (1655 - 1720) was Holy Roman Empress as the spouse of Leopold I, Holy Roman Emperor. Through her marriage, she was also Queen of Bohemia and Hungary, German Queen, and Archduchess of Austria. She served as Interim Regent in 1711. She was the paternal grandmother of Empress Maria Theresa.References: OPAC SBN locates this work only at Biblioteca nazionale Braidense, Milano (IT\ICCU\MILE\049648). OCLC 250576183 locates only two similar copies in worldwide public libraries (University of Delaware Library, Hugh M Morris Library, Newark and John Hopkins University, Baltimore) described as «unbound and uncut quarto sheets, folded once».

Description:
UNIQUE ASSOCIATION COPY, PRINTED ON VELLUM, OWNED BY PASSERINI'S NEPHEWSTATUTA PERUSIAE. Statuta Reverendissimi d(omi)ni Sylvii Cardinalis Cortonensis Legati. Impressum Perusie: per Hieronymum Francisci Carthularii, 1526 die XXVII Ianuarij. [Perugia, Girolamo Cartolari, 27 January, 1526].4to (210x140 mm), attractive contemporary Perugian blind-stamped brown morocco over pasteboard, two large fragments of a 14th-century Italian legal manuscript on vellum of the Lex Cornelia as endleaves, yellow edges, modern green cloth folding box (lacking the four ties, lower part of the back skillfully repaired), ff. [40]. including the final blank. Gothic type. Woodcut coat of arms of Cardinal Silvio Passerini at title-page; onverso, coat of arms of the town of Perugia. Three woodcut initials in criblé style. The only circulating copy on vellum of Perugia Statutes, in 41 chapters, enacted by cardinal Passerini and relating to the political and economical administration of the town and its surroundings.Silvio Passerini (1469-1529), descending from Florentine family, was born in Cortona, Tuscany. He was educated at the court of Lorenzo de' Medici and became very close to Lorenzo's son Giovanni, future Pope Leo X. In 1494 he entered the service of the de' Medici family and began his ecclesiastical career. He followed Giovanni in France, where they were made prisoners. Then he became protonotary apostolic of Pope Leo X. On the latter's account he was also sent to Perugia as commissioner and envoy.Passerini was created cardinal priest in the consistory of July 1, 1517. On November 15, 1521, he was elected bishop of Cortona, occupying the see until his death. He was also named regent of Alessandro de' Medici, as Signore of Florence and acted in his stead. Legate in Umbria and administrator of the see of Barcelona and Assisi, when the Medici family lost the power in Florence in 1527, Passerini had to leave that city as well as Cortona. He was a Renaissance patron who built four villas, and supported and protected artists such as Giorgio Vasari, Andrea del Sarto, and Raffaellino del Garbo. Together with Alessandro and Ippolito de' Medici, he attended the first performance of Niccoli> Machiavelli's comedy La Mandragola. (cf. Ch. Berton, Dictionnaire des cardinaux, Paris, 1857, reprint Famborough, 1969, col. 1350). Filippo Baldacchini (m. 1530 circa), praised by his uncle in the introduction, inscribed the present copy only four days after its publication. His ownership of the present volume so soon after the publication localizes the binding to Perugia.Provenance: Ownership's inscription of Filippo Baldacchini (dated 31 January, 1526), nephew of the cardinal Passerini, as well as protonotary apostolic and legate at his service. References: CNCE, 23862. L. Manzoni, Bibliografia degli Statuti, Ordini e Leggi dei Municipi Italiani, Bologna, 1876, I, pp. 362-363; C. Chelazzi (editor), Catalogo della raccolta di statuti della Biblioteca del Senato della Repubblica, Rome, 1960, V, p. 306. E. Gordon Duff - J. Pearson & Co, Catalogue of a highly important collection of books printed entirely upon vellum produced in England or on the continent of Europe between the years 1502 and 1878, London, 1917. For the binding: Hobson/Culot, 21.

Condition Report:
Small wormtrack in lower outer margin of the title, not affecting the text: otherwise excellent copy printed on vellum and preserved in its original binding.

Description:
A RARE EDITION OF VARENNE'S SYNTAXISERCOLE CATO'S COPYVarenne, Jean. Syntaxis Linguæ Græcæ Ioanne Varennio Mechliniensi autore, vnà cum Annotatiunculis paucis ad praecepta Syntaxis Varennianae, per Ioachinum Camerarium. Accessit praeterea opusculum perutile de Passionibus dictionum ex Tryphone.. Paris: Wechel, 1546. 8vo, contemporary yellow deer calf, pp. 173.Rare Parisian edition of Varenne's Syntaxis with the commentary by Camerarius, unknown to many bibliographies, including Elie's work on Wechel's editions. Ercole Cato (died probably in 1606) was an Italian writer and politician from Ferrara. The largest and most successful activity of Cato was that of translator: the heterogeneity of the things translated demonstrates the variety of his interests. He translated L'agriculture et maison rustique by Charles Estienne (L'agricoltura di casa e di villa, Venice, Aldo, 1581): this translation was a great success and was reprinted for nearly a century. Several reprints were also the translation of the De la vicissitude ou varieté des choses by Louis Le Roy (La vicissitudine e mutabile varietà delle cose dell'universo di Luigi Regio, Venice, Aldo, 1585) and the Démonomanie des sorciers by Jean Bodin (La demonomania degli stregoni, Venice: Aldo, 1587), an attempt to rationalize the witch hunt. In the last days of life he translated from the Latin the political books by Justus Lipsius. This translation was published posthumously by his son Ludovico (Della politica e del governo dello Stato, Venice: 1618). Cato added copious notes to this work, illustrated with examples mainly taken from the story of the century. For these annotations he was counted among the political writers of his century.Provenance: The Ercole Cato copy, his autograph inscription: Ex libris Herculis Cato at recto of last leaf and his autograph annotations. 2. Other inscription Ex libris Claudij Cati et amicorum, another member of Cato's family, probably the author of the annotations.References: Not in Elie (checklist of Wechel's editions). Not in Adams (quoting the 1548 Wechel's edition). Not in British Museum STC, not in BNC, and many other bibliographies. Buisson, p. 652; see Hoven & Hoyeux, Le livre scolaire, no. 59. For Ercole Cato, see L. Barotti, Memoria istorica di letterati ferrararesi, vol. II, Ferrara 1793, pp. 90 ss. For Cato's calligraphy, see Biblioteca Ariostea (Ferrara), mss. 172, 249, 451. OCLC, 458410140.

Condition Report:
The outer margin of some leaves a little frayed, but unsophisticated and fascinated unique witness.

Description:
THE ASSASSINATION OF HENRY IV OF FRANCEONLY TWO COPIES KNOWNZannessi, Fausto. Lamento della Regina di Francia per la morte del Christianissimo Henrico IIII suo marito. Venice: Iseppo Marcello, 1610. 4to, later limp paperboards, pp. [8]. Xylographic device with a tower. Excessively scarce Lamentation written in form of Canzone for the death of Henry IV of France, assassinated on 14th May 1610 by François Ravaillac, a fanatical Catholic. Henry IV (1553-1610), was the first French monarch of the House of Bourbon. As a Huguenot, Henry was involved in the French Wars of Religion; he barely escaped assassination at the time of the St. Bartholomew's Day massacre, and he later led Protestant forces against the royal army. In accepting the throne, he found it prudent to abjure his Calvinist faith. Regardless, his coronation was followed by a four-year war against the Catholic League to establish his legitimacy. One of the most popular French kings, both during and after his reign, Henry showed great care for the welfare of his subjects. As a pragmatic politician, he displayed an unusual religious tolerance for the time. Notably, he enacted the Edict of Nantes in 1598, which guaranteed religious liberties to Protestants, thereby effectively ending the Wars of Religion. His widow, Marie de' Medici (see lot ), served as regent for their nine-year-old son, Louis XIII, until 1617. References: Apparently not in ICCU. OCLC locates only two copies worldwide, both in United Kingdom: probably the copy quoted in British Museum Catalogue, London 1819, vol. 7 and the copy sold by Longmans, Catalogue of old books, London, 1824, no. 2628.